Mr. Jager is an arts and culture writer. He received his doctorate in…
What’s driving the renewed fascination with the representational? The fact that realism is, for better or for worse, the chosen visual idiom of AI offers a clue.
A new show contains rarely-seen archival material, artworks, video, and film from the movement that would eventually explode into the circus of the 1980s art world.
Salle seems interested in showing us the myriad ways in which painting can engage the act of seeing.
Serl’s compositions hover somewhere between folkloric symbolism and magical realism, all rendered in a visual language that is stubbornly naïve.
Tuttle’s body of sculpture and painting is part of an ongoing improvisational fugue started in the 1960s.
It’s hard to explain how something could be both overstuffed and underwhelming at the same time, yet this year’s Armory feels less like a sophisticated showcase and more of a trade show.
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